Regan Postma-Montaño reports on the 2018 Latinx Theatre Commons' Carnaval of New Latinx Work, which took place on 19-21 July in Chicago, Illinois.

Cassidy Dawn Graves writes about the anti-capitalist narrative present in Sweeney Todd: The Demon Barber of Fleet Street and the significance of producing the musical in 2018.

Jonathan Mandell reflects on the twentieth anniversary production of Basil Twist's Symphonie Fastastique at HERE Arts Center in New York City.

Robert Duffley reflects on four shows from the 2017 Divine Theatre Comedy Festival in Kraków, Poland.

Kaite O’Reilly considers how Richard III has been portrayed on stage, the alignment of atypical embodiment with evil and suffering, and her inspiration with The Llanarth Group to create a new staging of Richard III.

Jen Gushue reflects on the visceral work of Irish playwright Enda Walsh. 

Zach Donovan addresses the shortcomings of nonprofit theatre, the glut of self production, and considers Pop Theatre as an alternative theatrical vehicle.

Jonathan Mandell looks at six theatre pieces in January that used words in unorthodox ways—as gibberish, or out-of-sync with the action; some didn’t use words at all.

Cassidy Dawn Graves writes about Thomas Ostermeier’s production of Richard III and questions why we still see able-bodied actors playing characters with disabilities.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Jonathan Mandell gets a grip on Glass Guignol: The Brother and Sister Play, a mashup with Tennessee Williams, Mary Shelley, Lord Byron, and cockroaches—the debut production at the Mabou Mines Theater.

Sylvia Botella interviews Belgium-based theatre historian Olivier Neveux about his thoughts on populism, decomocratizing access to culture, and the political responsibility of the artist. / 

Sylvia Botella interview l’historien de théâtre belge à propos de ses pensées sur le populisme,

la démocratisation de l'accès à la culture et la responsabilité politique de l'artiste.

In the fifth installment of this series, Brendan McCall reflects on the work of Norwegian American vocalist Kristin Norderval, and how her art transforms listening into a political act.

Multidisciplinary artist and cultural producer Ivan Talijancic interviews New York based duo Ximena Garnica and Shige Moriya about LEIMAY ensemble, their recent production Frantic Beauty, and the creation process for their five-part Becoming series.

DC based playwright Annalisa Dias interviews fellow The Welders collective member Deb Sivigny on the world premiere of her new play, Hello My Name Is....

Jonathan Mandell looks at three plays about caregiving on stage recently in New York.

P Carl talks with Taylor Mac about drag, aesthetics, gender, performance, and politics.

In the third installment of this series, Australian playwright David Finnigan discusses how he navigated the attacks of climate deniers on his provocatively titled play. 

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

In the fourth installment of this series, Brendan McCall discusses the work of Czech-born, Norway-based artist Nela H. Kornetová , and her performance collective T.I.T.S. 

Georgina Escobar reflects on the past four years of Latinx Theatre Commons (LTC) convenings, and developing an understanding of “Latinx aesthetics.”

David Diamond, curator of the La MaMa Umbria International Symposia, visits St. Petersburg and presents a look at Russian theatre artists today.

In the first installment of this series, Brendan McCall discusses the work of Lars Øyno and his company Grusomhetens Teater.